Una prueba de la técnica multi-espécimen para determinar paleointensidad utilizando material arqueomagnetico: resultados preliminares con arcillas quemadas Tunecinas

The multispecimen palaeointensity technique of Dekkers & Böhnel (2006) has been tested on archaeomagnetic material from five kilns from Tunisia. In a previous study all five kilns yielded good quality archaeointensities based on Thellier-type double heating experiments. Results obtained using the multispecimen technique compared well with the previously studied Thellier-type results, with a slight tendency towards lower values. Markedly lower values were observed in two kilns, results that were improved by increasing the proportion of the natural remanence remagnetised in the partial thermoremanence acquisition. One of the kilns showed a multicomponent remanence (due to partial heating) and gave relatively poor results.

The portrait of the first poster artists of Spanish cinema: From the genre scene to the realistic portrait

The article, which is part of a more detailed piece of work, aims to highlight the use of the portrait on the film posters of the first Spanish poster artists before the Star-System was introduced in Spain. For this it is posed the evolution that occurs in the representation of the characters in the film poster from the second decade to the beginning of the thirties in the twentieth century, a historical period of profound influences of the artistic and advertising vanguards in our poster artists´ work. However, in the late twenties moving from the simple inclusion of the scene based on the picture of a film, to the chromatic and realistic representation of the star´s face. These were the years when the influence of the major North American studios began to show in Spain. Nevertheless, it highlights their technical and compositional freedom and their influence on subsequent poster artists, as many of them will integrate the portraits and settings on their posters, following the guidelines of the major studios or the independent ones. But without forgetting their own personal way of painting the film stars’ faces on their posters.